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Stories of the 9/11 Bead Quilt Squares

Last night I was flooded with memories of working on the 9/11 Bead Quilt Project, and the many beautiful stories behind the squares. This project touched my life in a profound way; while it demanded an incredible amount of time, energy and commitment, I can honestly say that what I gave is a fraction of what I got back.  With that said, I wanted to share some of the beautiful, loving efforts that the beading community created during a difficult time <3

I’d like to share this first image in acknowledgement of one of our most dedicated coordinators, Rosa meyer. The bright blue squares (“our beads help…”) were her brain child, and this theme is repeated at the center of each of the 3 quilts. The one for DC has a series of red squares that read “Our beads help to remember the fathers, the mothers”. The one for PA has white squares that say “Our beads help to comfort the sons, the daughters”, and the one for NY (shown here) has blue squares with the words “Our beads help to honor the heroes, the victims”.

Thank you Rosa for your enduring passion and commitment to this project, and for keeping it visible in the (many) years that we searched for permanent placement!

9/11 bead quilt block
“Our beads help to honor the heroes and victims”

The 4 squares shown in this image were created by Julia Pretl, who was not only our coordinator for the MD area, but our (extremely talented) web designer. She helped to problem solve for the BQ project starting from day one, and on up to nearly 10 years later, when we finally secured permanent placement for the quilts.

Thank you so much Julia, for all your help and for putting up with so much of my crazy over these past 15 years!
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This block includes squares by our NM coordinator, Nikia Angel (thank you Nikia!) as well as Rita Sova (angel) , Lisabeth Tafoya (in high resolution microbeads!) and the ever awesome Mary Tafoya. Her square commemorates the life of a NM man, Al Marchand, who was a flight attendant on flight 175.

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Notice how several of the squares in this block are from Japan? There are many others throughout the quilt, most with the same red/yellow/green pattern as the one in the lower left corner. These came from a group of Japanese artists who worked on their squares together … many of them learned how to bead in order to participate in this project!

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This block represents some of the MANY beaded squares collected by our AK coordinator, Jeanette Shanigan (I don’t remember exactly how many AK contributed, but it was a lot! Jeanette will tell you the exact #).

The one in the lower right (by Karen Palmer) showcases one of the most popular designs used in the quilt, a rose/flag motif, designed by my sweet friend Charlene Hughes, who was our CA coordinator.

Next to that (lower left) is a square by Kate Boyan, which especially touched my heart. She has been – and still is – one of my favorite bead artists, so it was a wonderful surprise to me when her square came in! There were many “famous” bead artists who contributed to this project, but to me they were all just good people coming together for a special cause … in her case, I have to admit to feeling a bit star struck!

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These two squares by Anne Brazeale of AK are just a small sample of the many squares that we received from Native American beadworkers. I think she is Tlingit, but perhaps one of the beaders from the Mat Su Valley Bead Society will see this and let me know for sure.

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There are so many special stories that I could share about these squares, and about our travels with the quilts as we worked to find permanent placement for them! I need to get on with my day today, but I will try to remember to share more of these as time allows. Many thanks to all of the wonderful people who helped with this project – artists, coordinators, supporters, viewers, and more. I appreciate you all, more than I can say.

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New Pollinator Prayer Necklace

Here’s a premonarch-leather-necklace5view of my newest “Pollinator Prayer” necklace, loosely inspired by the Monarch butterfly. This piece incorporates sculpted leather, Baltic amber, antique Victorian era “nailhead” and French jet beads, as well as quartz crystal, glass flowers and seed beads.

It seems appropriate to share during Dias de los Muertos, since Mexican folklore tells us that the monarchs are the souls of our ancestors, returning to earth for a brief visit. This is also the time when these beautiful endangered creatures are making their long (3000 mile!) journey back to Mexico <3

Monarch Necklacemonarch-leather-necklace

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Dia de los muertos

My mother is Mexican and Spanish, and I grew up in Los Angeles, a city that is steeped in Latino culture. My abuella came from Mexico to America in a covered wagon in 1918, and my daughter and I had the good fortune to hear this story from her directly. Despite all that, my own upbringing was pretty American. My family still continues our tradition of making turkey tamales on Thanksgiving, which we’ve done since I was a little girl. I love Sandra Cisneros because her writing captures the feeling of my family in such a poetic and sentimental way, and I can speak Spanglish at a toddler level. That’s about as Mexican as I get.
  

source: www.pgmuseum.org

Similarly, my father was Native American (Cheyenne-Arapaho) and ??. He identified with his Native roots, and drew most of his spiritual and ethical principles from that. You know, the idea that “we are all connected” and we should walk in balance and with respect for mother earth. I don’t mean to cheapen those ideals with buzzwords and catch phrases — I’m just trying to convey the concept quickly. My dad’s art and ideals were deeply influenced by his Indian heritage. He passed that along to me to some degree, by taking me to pow wows and teaching me what he believed in; but I didn’t grow up on a reservation or anything. I grew up roller skating along the beaches of Santa Monica and Venice 😉

These cultures are certainly a part of me, they reflect my family and my history. They have colored my perspective, and helped to shape my thinking; but I didn’t really live them the way a first generation Indian or Mexican person would. As such I view them as my heritage, rather than my culture — if that distinction makes any sense.

There are aspects of each that resonate with me. Little fragments that I like to keep alive in my own way, however diluted. For example, my dad’s people had a great reverence for life. When they hunted, they took only what was needed, and made an offering to the spirit of the animal to express gratitude for the nourishment and sustenance it provided. Their respect for that animal’s life motivated them to use every part of the body. In keeping with this, I smudge every hide that I use in my leatherwork with sage, and silly as it may sound, I thank that cow for the sustenance (income) it provides. I do my best to use every scrap, so that nothing is wasted.

source: www.greenhouseexpress.com

My mom’s ancestors have a beautiful way of viewing death. Every year in Mexico (and much of California 😉 the people celebrate Dia de los Muertos, the Day of the Dead. It is not as morbid as it might sound. Rather than mourning the death of loved ones who have passed, this holiday (which actually spans two days) is intended to celebrate, honor and remember those who have passed. I’ve always appreciated this holiday, for that sentiment and also for the beautiful artwork that it inspires.

This year, it is especially important to me, as I’ve lost several friends and family recently. Most notably, my father. Even though we knew it was coming, it still hit me pretty hard. We did not have a perfect relationship — in fact, we butted heads a lot — but I always loved and respected him. I’ve been doing DotD inspired stuff for some time, but even more so over the past year. Silly as it may sound, it has helped me to work through my grief  for my dad and to focus on the positive. It reminds me to honor what he taught me, and to value the aspects of him that live on in me and in my daughter.

I am going to go out and grab some marigolds and candles today, so that I can create a special altar in his memory. I’ll add pictures of him and sage that he picked, along with photos and mementos of my grandparents and my friend Mahala, who died of cancer last fall. I’ll spare you the full roster (suffice to say that it is long) but know that it reflects much love for many wonderful people who have added to my life. Meanwhile, I’ve created this virtual altar over on Etsy. My online ofrenda:

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Art, Culture & Respect

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Hey artsy/creative people,

I’d love to hear how you integrate cultural ideas into your work and if you have any thoughts on how to do this respectfully. I ask because there’s a concept/imagery from another culture that really resonates with me right now, and I’d like to explore it in my work. However, it’s a pretty deep/sacred thing and I don’t want to “cheapen” it.

Sometimes I see people imitate (or even just appropriate) my dad’s culture and it makes me feel angry and embarassed for them. My ancestors’ spiritual values have evolved over many (many) generations — some people dedicate their whole lives to learning and living these ideals. For example, dancers in the sundance ceremony often carry scars which reflect tremendous sacrifice and commitment to their community. So when some rich kid from the big city goes and gets scarification done in a nice sterile studio — as opposed to learning about the customs, making the corresponding sacrifices, and you know, actually DOING THE DANCE — it kind of belittles the whole thing (even if that’s not the intent). That said, I certainly don’t want to approach someone else’s beliefs in a superficial or irreverent way.

By the same token, we don’t live in a vacuum. Most of us are exposed to, and even influenced by other cultures on a daily basis. The term “culture” speaks to a community’s history, ideology, spirituality, music and art (and food! although that kind of falls under the “art” category in my book ;o) . These are all wonderful things to enjoy and explore — so why hoard them? Hopefully, sharing and understanding each others’ cultures offers humanity a way to connect and work together for a better world.

So my questions are, how do you approach the use of cultural ideals or symbolism in YOUR art? Do you strive for authenticity or loose interpretation? Do you let it inspire you but create your own thang, or?? Do you study the subject extensively, or just explore what it means to you? How do you walk that fine line of drawing inspiration without appropriating?

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